Themes and Meanings (Masterplots II: Drama, Revised Edition)
Pantomime embraces several issues of racial and cultural equality, of colonial history, and of artistic methods, but these issues are all subordinate to the play’s faith in the integrity of the artist’s vision of diversity yet unity within humanity. While both characters change in the course of the drama, Jackson’s recovery of respect for the cultural origins of calypso and “Creole acting,” the ability to improvise according to immediate circumstances without the loss of self-dignity, serves as the catalyst by which Harry can come to terms with his largely unconscious racism and with his sexism—the jealousy over his wife’s success—which had provoked the tragic events of his past. Jackson’s forgiveness of Harry—without accepting a position of inferiority—becomes Harry’s forgiveness of Ellen, and, just as important, Harry’s forgiveness of himself for his failures. What Jackson offers Harry is a sense of common humanity that is free from suppressing racial, historical, and cultural differences. Rather than blurring differences in a universalist concept of art, Derek Walcott, paradoxically, affirms those differences as a prerequisite to understanding the essential unity of humanity.
Those differences are governed by language and history. Harry’s flight to the West Indies enacts symbolically the expansion of the British Empire and the colonial conquests of any empire. He arrives with enough capital to assume the role of...
(The entire section is 590 words.)
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